UPPERCASE #50 by Janine Vangool

FROM THE EDITOR’S DESK

Dear Reader, Welcome to the 50th issue of UPPERCASE magazine! As an independent, ads-free publication supported entirely by its readership, this is an achievement we celebrate together. None of this would be possible without your amazing support and enthusiasm over the past 12 years. This magazine began as an experiment. A graphic designer by profession, I wanted to create my own publication—one that filled a void in design magazines. I envisioned a magazine with good design as its foundation, but also a publication that gathered its inspiration from a broader perspective— encompassing the eclectic worlds of art, illustration, design, typography and crafts of all sorts (with an appreciation of vintage, too). UPPERCASE has really grown into its motto of being “for the creative and curious.” My hypothesis that there would be other creatives out there like me—people inspired by looking outside of their own particular creative specialty, open to optimism and serendipity—has proven to be true. Thank you so very much! Within this milestone issue, I’m exploring the intersection of art and science, as well as rubber stamps and related printmaking concepts: relief (both in terms of texture and emotion), making good impressions and the satisfaction (and necessity) of repetition. Here’s to the next 50! Sign up for my newsletter for free content and an introductory subscription offer:

Ja n i n e Vango ol

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P U B L I S H E R , E D I TO R , D ES I G N E R

A fabulous fifty found while putting together this issue.

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Contents July / August / September 2021

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U P P E R C A S E

Welcome Editor’s Letter . . . . . . . . . . . . . . . . . . 3 Contributors . . . . . . . . . . . . . . . . . . . 6 Subscriptions . . . . . . . . . . . . . . . . . . 7 Snippets . . . . . . . . . . . . . . . . . . . . . . 8 Noted . . . . . . . . . . . . . . . . . . . . . . . . 10

DISCOVER . . . . . . . . . . . . . . . . . . 32 The Scientific Method for Creativity article and lettering by Joy Deneen

CREATIVE CAREER . . . . . . . . 35 Sally Malone Joyce Bantock

Stockist . . . . . . . . . . . . . . . . . . . . . . 11 Worthwhile . . . . . . . . . . . . . . . . . . . 12

Fine Print LIBRARY . . . . . . . . . . . . . . . . . . . . 14 Recommended Reading

BEING . . . . . . . . . . . . . . . . . . . . . . . 16 The Repetition of Inner Evolution by Meera Lee Patel

BUSINESS . . . . . . . . . . . . . . . . . . . 18 Creating Systems for Your Business by Arianne Foulks illustration by Andrea D’Aquino

FRESH . . . . . . . . . . . . . . . . . . . . . . . 20

Art & Design SKETCHBOOK . . . . . . . . . . . . . . 38 Sonal Nathwani: Everlasting Beauty by Andrea Marván

GALLERY . . . . . . . . . . . . . . . . . . . 44 Visualized Science Reader Submissions

The Art and Science of Cyanotypes by Sarah Bourne Rafferty additional photos by Traci Delisser

COVER ARTIST . . . . . . . . . . . . . 78

From Doctor to Painter by Kathy Stewart photos by Annamieka Hopps Davidson

Molecular Colour: Angie Barker

Rubber Stamps by Correy Baldwin collection by Mark E. Sackett

EPHEMERA . . . . . . . . . . . . . . . . . . 30 Rubber Stamp Catalogues by Mark E. Sackett and Melanie Roller

Misc. HOBBY . . . . . . . . . . . . . . . . . . . . . 126 Beautiful Decay by Brendan Harrison art by Claude Aimée Villeneuve Looking Forward . . . . . . . . . . . . . 128

COVET . . . . . . . . . . . . . . . . . . . . . 130 Milestones by Andrea Jenkins

ILLUSTRATION . . . . . . . . . . . . . 72

BEG INNINGS . . . . . . . . . . . . . . . 22

ORIG IN . . . . . . . . . . . . . . . . . . . . . . 26

PAPERCUTS . . . . . . . . . . . . . . . 118 Rogan Brown by Emily Orpin

Shares . . . . . . . . . . . . . . . . . . . . . . 129

Illustrated Science: Rachel Ignotofsky by Kerrie More

Science and Art by Lydie Raschka

BOOKBINDING . . . . . . . . . . . . 112 Bookbinding Finishing Tools: Brien Beidler by Todd Pattison

PROCESS . . . . . . . . . . . . . . . . . . . 66

Alanna Flowers, Mary Wahr and Katie Mantwa George

ABECEDARY . . . . . . . . . . . . . . . . 24

Craft

ASK LILLA . . . . . . . . . . . . . . . . . . 86 Shooting Photo Reference by Lilla Rogers

PARTICIPATE . . . . . . . . . . . . . . . 88 Relief Reader Submissions

SUBSCRIBERS . . . . . . . . . . . . . 105 Profiles of UPPERCASE magazine subscribers

Relief Monoprints Laura Crehuet Berman K A N S A S C I T Y, K A N S A S , U S A

My work reflects the connections between the expanses and details within space, and how even the smallest action can create a cascade of events and phenomena. My images are painted, printed and collaged onto paper in a series of iterations. For the past 14 years, my work has been made primarily with relief monoprint techniques. Families of colours, imagery and compositions relate together closely in my work without ever duplicating each other. This way of working brings an important physical labour to my research and ideas, and new connections build in tangible ways as I create my work. In essence, my artwork celebrates the joy of seeing and the beauty of discovery through wonder. lauracrehuetberman.com

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C O N T R I B U TO R

U P P E R CAS E 201B – 908, 17th Avenue SW Calgary, Alberta, Canada T2T 0A3

Janine Vangool P U B L I S H E R , E D I TO R , D E S I G N E R

janine@uppercasemagazine.com C U STO M E R S E RV I C E

shop@uppercasemagazine.com

Correy Baldwin C O PY E D I TO R

Core Contributors Jane Audas Correy Baldwin Andrea D’Aquino Arianne Foulks Joy Deneen Glen Dresser Brendan Harrison Andrea Jenkins Linzee Kull McCray Andrea Marván Kerrie More Emily Orpin Meera Lee Patel Lydie Raschka Christopher Rouleau

Sarah (Atwater) Bourne Rafferty

P RI NTE D I N CA N A DA BY T H E P R O L I F I C G R O U P.

Interior pages are printed on 100% post-consumer recycled Rolland Enviro 100. Give this magazine a long life! The content is evergreen, so we hope you’ll revisit it over and over again. If you’re done with it, please pass it on to a friend or colleague who might enjoy our content, or cut up the pages and create some art.

We plant a tree with every subscription. treeera.com

In the spirit of reconciliation, we acknowledge that we live, work and play on the traditional territories of the Blackfoot Confederacy (Siksika, Kainai, Piikani), the Tsuut’ina, the Îyâxe Nakoda Nations, the Métis Nation (Region 3) and all people who make their homes in the Treaty 7 region of Southern Alberta. 6

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Thank you to all of the talented writers, illustrators, creative collaborators and loyal readers who contributed their talents to this issue of UPPERCASE. Thank you to everyone who submitted to the open calls for this issue. Even if you weren’t featured within these printed pages, your effort was noticed and appreciated!

Sarah has been a maker for as long as she can remember. She was always busy with paint and paper as a child. She loved to collect pens from various places around the house. Her dad taught her everything she knows about plants and gardening, which led to a deep appreciation for the natural world. Sarah loves the colour blue and she doesn’t care much for olives. When she is not in the studio she can be found at her day job teaching photography full time at an all-girls school, running or drinking coffee in her backyard. Atwater was Sarah’s middle name before getting married. It was her mother’s maiden name and one that is deeply important to her, both because it represents her mother’s half and because of the rich importance water has played in the life of her family. atwaterdesigns.com @atwaterdesigns

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NEWSLETTER

PUBLISHED I N D E P E N D E N T LY SINCE

2009

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Snippets

C H E M I ST T R E E

C E R A M I CS

Craig McCann is a textile designer and ceramist in Manchester, United Kingdom. Fishink, his blog about visual design and culture, has been going strong since 2010. It is an excellent resource for learning about vintage illustration and design. Craig also makes small, flat ceramic pieces decorated with stamped patterns and texture. He sells his ceramics via Instagram, where this friendly Mr. Owl caught my eye (its eyes remind me of UPPERCASE logos!). fishinkblog.com @fishinkblog

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The The Chemist Chemist Tree Tree Rovena Rovena Tey Tey Rovena RovenaTey Teyis isaascientist scientistby bytraining trainingand andaa creative creativeat atheart. heart.“The “TheChemist ChemistTree Treeis isthe the intersection intersectionof ofmy mycurious curiousmind mindand andcreative creative expression. expression.I’m I’mespecially especiallyfascinated fascinatedby bymolemolecules culesand andthe thefundamental fundamentalfact factthat thateveryeverything thingin inthe theworld worldis ismade madeup upof ofchemicals—our chemicals—our emotions, emotions,what whatwe weeat, eat,what whatwe wesmell, smell,what whatwe we see seeand andeven eventhe thethings thingswe wetouch. touch.IItranslate translate science scienceinto intoart artby bycombining combiningmolecule moleculediadiagrams gramswith withvibrant vibrantcolours coloursand andhumour humour(mostly (mostly puns) puns)and andpresent presentmy mydesigns designsin inthe theform form of ofstationery stationeryand andhome homegoods. goods.It’s It’saafun funand and unique uniqueway wayof ofvisualizing, visualizing,communicating communicatingand and sharing sharingscience sciencewith withthe theworld!” world!” chemisttree.com chemisttree.com

C H E M I ST RY

TOT E M RY

totems Joni Ulman Lewis These totems came to me in a big rush of ideas after a year “off,” quite literally, as I had no inspirations, deadlines or creative umph. I jokingly called it Retirement Rehearsal but it was a huge relief to finally get my mojo back. joniulmanlewis.com

G L ASS

The Illustrated Encyclopedia of the Elements

Fazeek

The Vice Versa Carafe by Fazeek takes its cues from scientific glassware but adds the element of play: take the sphere and rest it under the vase’s base or rest it atop the neck to seal the mouth. fazeek.com.au

A NEW BOOK BY LISA CONG DON

The Illustrated Encyclopedia of the Elements leads readers in an exploration of all 118 known elements. From their discoveries to their uses to their special properties, Lisa presents a tour of the periodic table combining science, history, trivia and humour. “True story,” writes Lisa on an Instagram post announcing the book’s publication, “the bored teenager who nearly failed chemistry in high school just wrote and illustrated her first children’s book (a fricking ENCYCLOPEDIA) on The Elements. Who knew science could be so fun?” The project took three years and Lisa credits her sister Stephanie Congdon as co-writer and editor. Published by Chronicle Books, The Illustrated Encyclopedia of the Elements is a book for 10 to 14 year olds—or anyone with a love of learning and illustration.

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N O T E D

charts

A RT S C H O O L “Remember the science charts that would attach above the chalkboard and pull down like a roller blind?” asks artist Cleo Papanikolas. “The teacher could point to reproductive parts of a plant or layers of strata in a canyon with a pointer that looked like a pool cue.” Realizing that such posters would be helpful in the art classes she teaches, Cleo designed map-folded charts. “Making the charts is such a meta-process. I’m using certain art techniques to make a poster about how to do the same art techniques. And the poster has to be attractive enough to hang on the wall and look at, because it’s art about art. I teach a hands-on, old-school process, so I use the same process to make the charts to give my students an example: hand lettering, tracing paper for layout, drawing in pencil, mixing colours with gouache.” cleomade.com

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D I G I TA L The stock image company Rawpixel has digitized the botanical and education art by 19th century American and British artists George Edward Madeley, Marcius Willson and N.A. Calkins. The high-resolution files are free to download under a Creative Commons license. rawpixel.com

V I N TAG E Psalliota campestris, Genetic Inheritance in Snails, The Ultrastructure of the Cell, Natural Atomic Decay… these are but some of the gorgeous vintage charts of botany, anatomy, zoology and physics that this Etsy seller has on offer. wildstrawberryretro.etsy.com

S T O C K I S T

stamping stockists

Inspired by all the rubber stamping and relief art-making featured in this issue? You’ll find supplies and UPPERCASE magazines at these independent brick-and-mortar shops.

The Ink Pad New York, USA Anna Chiang, proprietor My dream business, The Ink Pad, opened in 1998, selling just rubber stamps, ink pads and paper, in a 125-squarefoot space. Twenty-three years later, in our beautiful Chelsea shop, we still sell all of those, plus journals and Traveler’s Company notebooks, books and magazines, gifts, greeting cards, fountain pens, sealing wax, craft dies, washi tape and Japanese stickers, paints, embossing powders, adhesives, collage supplies and more! Our customers range from businesses wanting a custom rubber stamp of their logo, to cardmakers, mixed-media artists, stationery junkies, illustrators and memory-keepers, ranging from absolute beginners to people who’ve taught and published in their field. Luckily, my staff and I love all aspects of art and design, so there’s always someone here to help field crafty questions. The past year of pandemic has amplified every advantage and challenge of owning a brick-and-mortar business—a field already dealing with ever-increasing competition from big box and online stores. In a destination city like Manhattan, the absence of tourists and drop-in visitors had a devastating effect on sales, from which we still hope to recover. However, having spent this year improving our online store, brushing up our social media and embracing new technology like Zoom classes, I feel excited about moving forward with new ways to connect. My favourite thing about The Ink Pad is meeting artists and makers from all over the world; their ideas, talents and ingenuity are so inspiring. I’m excited to welcome old friends and new back to our wonderful city! theinkpadnyc.com @theinkpadnyc

The Queen’s Ink Savage, Maryland, USA Patti Euler, proprietor The Queen’s Ink: refine your technique… transform your art! Queen Patti has been in business a long time and she is what makes our business unique. From her rainbow hair to her comfy shoes, she helps everyone become the best artist or crafter they can be! This year, the challenges were unprecedented. The advantage was still having a beautiful studio in which to create art with others. Our team spends a great deal of time curating supplies that will bring out the best in each artist. Patti specializes in mixed-media, Anna in the fine arts, Terri is our resident fountain pen expert and Megan adds a touch of cuteness and whimsy. queensink.com @queensink

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W O R T H W H I L E

be seen project BY AMELIA WOODBRIDG E

Using our creativity for good is one of the best ways we can make a difference. Through design, art and craft— and with our hands and hearts—we can effect change. However small it may seem at first, each incremental effort is still significant.

BSP ZINE, P H OTO A N D C OV E R B Y S U M AYA T E L I

hen Mindy Tsonas Choi launched the Be Seen Project in the spring of 2020, she was energized by an idea: a connected community of creative activists telling their stories of systemic oppression and their fight for justice through their art. After struggling to find understanding within her own marginalized experiences, Mindy saw the Be Seen Project as a way to reclaim her identity and advocate for broader cultural change. Putting her vision into action gained a sense of urgency as the events of the Covid-19 pandemic, Black Lives Matter protests after the death of George Floyd, anti-Asian racism and political unrest unfolded this past year. For Mindy, lifting the voices and actions of Black, Indigenous and people of colour (BIPOC) was a way she could contribute and help raise awareness. She built a community to showcase art and craft making as activism and a structure to prompt participation and support among all makers. It became the Be Seen Project. Through what Mindy calls “creative calls to action,” the Be Seen Project engages the maker community to participate in craftivism initiatives. These include calls to contribute to a project such as “Knit the Rainbow,” which calls on knitters to make

warm clothes for LGBTQ+ youth facing housing disparities; fund micro grants that help artists fulfill creative activism endeavours in theater, photography, speaking engagements and public art installations; make donations to support community events and BIPOC-centred advocacy programs; and volunteer time, services or goods to expand visibility in neighbourhoods across the world. “As a feminist and Korean American adoptee who grew up in all-white communities, I understand the impact of being denied one’s true identity,” says Mindy. “My hope is that the Be Seen Project will inspire makers while building community and resources for BIPOC artists using their work for change.” The Be Seen Project is founded on values that include representation across all creative mediums with inclusive, intersectional perspectives on social justice and equity. Through collaboration, relationship building and field advocacy, the projects disrupt harmful narratives and instead cultivate empathy, understanding and knowledge. Structured as a mutual aid organization, the Be Seen Project helps to meet human needs through direct support of artists and makers in their existing communities. This better serves artists in the field, decentralizing leadership and removing corporate structures, and assists more artists in the movement. Sustainability is a top priority for Mindy, to ensure the movement can continue to raise awareness and sponsor more artists and makers who are aligned with their mission. Anyone can be involved and support the Be Seen Project. Knit, sew or paint to make a difference supporting one of their initiatives. Volunteer as part of the Be Seen Project Street Team and help spread the word about their work. Connect artists in your community, use your maker talents for a fundraiser, offer visibility through your platform, donate to help fund a grant, become an official sponsor or be part of their cohort.

E AC H / OT H E R COMMUNITY ART P ROJ ECT BY M A R I E WAT T A N D C A N N U PA HANSKA LUGER

The Be Seen Project continues to build their movement through a podcast and a quarterly craftivist zine. beseenproject.org

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L I T T L E

small, cute & creative littleumag.com

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E ASY A RT

Rubber Stamping: Get creative with stamps, rollers and other printmaking techniques ST E P H E N F OW L E R

Here’s a fun book to get you started on carving your own rubber stamps. Artist and author Stephen Fowler writes, “even the simplest approaches can lead to something unexpected.” Indeed, the process of making your own rubber stamps is straightforward and the projects within the book are simple—but that’s part of the joy of the art form. Without the need for heavy equipment or expenditures, rubber stamping democratizes printmaking. Small carvings on inexpensive materials also leads to more creative output. And if there’s one thing that rubber stamp artists know: multiples are always appealing! stephenfowler72.blogspot.com

RECOMMENDED READING BY

j a n i n e va ng o o l

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F R E S H

fresh talent W H ET H E R YO U ’ R E A F R E S H G R A D UAT E O R M AT U R E A RT I ST, I T I S O F T E N A D R E A M TO B E P U B L I S H E D F O R T H E F I RST T I M E !

You’re welcome to submit your work for consideration. uppercasemagazine.com/participate

Alanna Flowers B RO O K LY N , N E W YO R K , U SA

My name is Alanna Flowers, and I’m a freelance lettering artist and graphic designer based in Brooklyn, NY. As a lettering artist my work largely uses words to communicate not just through their literal meaning but by their composition, style, etc. Through the social media landscape, I think we’ve all observed the ways in which words matter. I’ve seen lettering artists use that as a way to connect us all and make an impact. While I make work that is personal to me, I also hope to foster those same connections through spreading positivity and highlighting causes that matter to me. My hope is to become a prominent voice in the spaces that I occupy so that other creatives who look like me can feel uplifted and learn from me. agfdesignstudio.com @alanna_flowers

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B E G I N N I N G S

I am Kathy, I am 62 years old and I am a painter. In 2015, I retired from practicing medicine. For 31 years, I was an obstetrician-gynecologist, practicing mostly in the Portland, Oregon, area. Growing up, I knew I wanted to be a scientist. When I was a teenager, my dream was to be a physician-astronaut. I later decided to become a physician here on earth. I chose a surgical field to specialize in after medical school in part because I love the feeling of doing things with my hands. I vividly recall the first time that I made an incision on a human being—the feeling of cutting through my patient’s skin with a knife.

from doctor to painter STO RY BY

kat hy s tewa r t

P H OTO S BY

a nna mieka h o p ps dav idson

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Throughout my working life, I created things. I sewed hundreds of quilts, four of which are hanging on the walls at the hospital where I used to practice. My favourite obstetric patients usually received a baby quilt that I made. I also had an art journaling practice during those years, filling over a hundred sketchbooks with writing, drawing and repetitive mark making. As an artist I am most interested experimenting with the materials—paint, ink, brushes, trowels—and exploring the creative process. I’m not so much interested in the thing itself—it’s all about the process. When I retired, I knew that I wanted to expand the creative part of my life. I signed up for an in-person painting workshop taught by a local artist. Her philosophy was that you don’t have to know how to paint to be a painter. I thought, “Well, that is perfect for me, because I don’t know how to paint.” What hooked me was that the first thing we did was pour brightly coloured paint on a 36-by-36-inch pure white canvas, spray it with water and watch the colours blend together. The feeling of moving paint on that big surface—the physicality of using my hands, my whole body, moving colour quickly and intuitively—that was exactly where I needed to be when I was making such a fundamental change in my life.

A B E C E D A R Y

science and art COMPILED AND WRITTEN BY

lyd ie ra sch ka

Anna’s Algae

Cyanotypes

British botanist Anna Atkins pioneered the use of cyanotypes (see C) as a means of recording botanical specimens in her 1843 book on algae.

Letting sunlight shine onto small objects, like leaves or seaweed, placed on chemically coated paper, produces the ghostly blue-and-white prints known as cyanotypes.

Birds of America John James Audubon set out, at 35, to paint every bird in North America. The result is one of the most remarkable natural history books ever published.

Ellen’s Solar System Quilt This wool quilt was made by Ellen Harding Baker, mother of five, who taught science in rural Iowa in the 19th century.

Fish prints (Gyotaku) Today fish prints are considered art, but in the mid-1800s Japanese fishermen made them to record their daily catch.

Interstitial cells of Cajal

U P P E R C A S E

Hundertwasser

Jane’s Impressions

A painter and architect with a passion for the environment, Friedensreich Hundertwasser believed art could inspire efforts for a better world. He planted trees every chance he got, and designed buildings with green roofs, humus toilets and biomorphic shapes.

One of the first female botanists, Jane Colden, learned from her father as he gathered, dried and pressed plant specimens. She catalogued some 300 plants growing in the Hudson Valley, and developed a method for making ink impressions of leaves.

Klari’s Petri dishes Klari Reis paints Petri dishes—a staple of biology departments—with pigmentinfused plastic, epoxy polymer and resin, then groups and displays them to produce brilliant bouquets of lab ware.

K L A R I A R T.C O M

Charles Darwin was not a gifted artist, yet among his doodles are peculiar little tree diagrams, an early expression of his epiphany that all species share a common ancestor.

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German artist, writer and politician Johann Wolfgang von Goethe published this encyclopedia of sorts in 1810 on the function, nature and psychology of colours.

Santiago Ramón y Cajal was one of the first scientists to document the individual cell structures in the brain. His drawings in black ink on brown paper, made near the end of the 19th century, are still used today.

Darwin’s Drawings

Goethe’s Theory of Colours

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O R I G I N

rubber stamps ARTICLE BY

c or rey b a ld w i n V I N TA G E C O L L E C T I O N B Y

m a rk e. sacke tt

ears ago I worked for a small literary publishing house, in a basement office amid precariously leaning towers of books. One of my duties was to mail out review copies. The envelopes were pre-printed with our company address and logo, but the publisher insisted we use two rubber stamps: one marking “Esplanade” for the fiction line, the other “Signal” for the poetry. Ink, stamp. Ink, stamp… I became very familiar with those wooden-handled tools of the trade. The publisher kept these stamps in use for love of their simple elegance. He also had them made at a local shop, just a 10-minute walk away, providing a special connection to the community. It was an attitude I always appreciated. I have never needed a stamp for my own business, but recently I decided to get one made anyway, just for myself. First, I turned to my talented sister, commissioning an illustration from her that I could place on a rubber stamp. She came up with a beautiful linocut of two wheat stalks, a tribute to the family farm we grew up on, and which I heartbreakingly hadn’t been able to visit for far too long, given recent restrictions. Next I called up Central Stamp—the same rubber stamp company used by my former employer. When I arrive, Diana, one of the two managers, quickly takes me behind the counter to show me around the functional and somewhat dishevelled workshop. When the large, family-run stamp and engraving business A. Derome relocated to an industrial park in the 1970s, they set up Central Stamp as a way to continue servicing their clients in the city. Today it is a much-loved business, popular especially with small businesses looking to personalize their product and packaging. 26

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E P H E M E R A

rubber stamp catalogues

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m a r k e. sacke tt m a r k e. sacke tt A N D m ela nie rol ler

C O L L ECT I O N BY TEXT BY

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LETTERING BY JOY DENEEN

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Art & Design

Sonal Nathwani

everlasting beauty

STO RY BY

a nd rea m a rvá n

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G A L L E R Y

visualized science

cience and art are closely related: both require close study, observation and experimentation. Scientific procedures, processes and results can be recorded visually through drawings, diagrams, dioramas, models and notations. Scientific methods and techniques can also help us visualize the world in interesting ways. The unknown can be made visible through artistic means. Creative interpretation of complex concepts can be communicated through art. The scientific method, annotations and conventions can inspire our creativity. And those with scientific careers or training often find creative outlets to explore topics more expressively. For the 50th issue of UPPERCASE, we invited readers to share their art and creativity inspired by science!

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C O V E R

A R T I S T

molecular colour artist angie barker

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P A R T I C I P A T E

relief “Something affording a pleasing change, as from monotony.” “A feeling of reassurance and relaxation following release from anxiety or distress.” “Projecting detail, a mode of sculpture in which forms and figures are distinguished from a surrounding plane surface.” “Prominence, distinctness or vividness due to contrast.” “Any printing process in which the printing ink is transferred to paper or another printed surface from areas that are higher than the rest of the block.”

Art made with relief could include rubber stamps, woodcut, linocut, relief etching, wood engraving, potato printing, foam printing, movable type, leather stamping, found object printing, carving and more. We asked readers to demonstrate their creativity and express their feelings of relief and optimism by exploring something made with a relief art-making technique. 88

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Everything Will Be OK Diane Kappa S E AT T L E , WA S H I N G T O N , U S A

As Covid was moving around the United States, I started to panic. I kept telling myself that everything was going to be OK. I carved this lino block and was so proud of the line work. The overall bold graphic look was exactly what I wanted. And then I realized I forgot to reverse the image. A friend of mine pointed out that the irony of it not being OK was kind of perfect. I went ahead and printed the block. Clients are putting them opposite a mirror. When you look at your reflection, Everything is OK. During Covid I have found relief in focusing time on developing my printmaking skills. I have dabbled in printmaking over the years but nothing too serious. Time has given me the opportunity to dive deep into exploring different topics and techniques. I have found my passion in printmaking. dianekappa.etsy.com

THIS IS A LOW RES PREVIEW OF A HIGH QUALITY Q U A R T E R LY P R I N T M A G A Z I N E PLEASE SUBSCRIBE

In celebration of this 50th issue, I am happy to highlight some of the wonderful subscribers who have been with UPPERCASE magazine since the very beginning.

P H OTO BY

ela i n e e ppler

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Craft Brien Beidler Bookbinding Finishing Tools

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P A P E R C U T S

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emily orpi n

rogan brown 118

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“My work comes into being in the space where science fact and science fiction meet and merge.”

Cut Microbe 2015 hand-cut paper 120

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C I R C L E

Little U volume 3 is freshly printed!

Circle

looking forward There’s a lot to look forward to at UPPERCASE—and many ways in which you can be involved or even get published! Look for all the details and deadlines for the open calls on our website and be sure to sign up for my weekly newsletter for behind-the-scenes updates.

Make connections, nurture your creative spirit and grow your business!

Little U: Volume 3 Little U is the offspring of UPPERCASE magazine—creativity for the young at heart! Volume 3 has just been released.

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The UPPERCASE Circle is a vibrant community hub, one that is a valuable source of motivation, inspiration and encouragement for like-minded and kind-hearted creative people from around the world. Although the community is initially brought together by its support for and appreciation of UPPERCASE magazine, the Circle will enhance your experience of all things UPPERCASE while providing additional value to your creative life through conversation and the sharing of knowledge.

UPPERCASE Creative Supplies

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Connect with members of the UPPERCASE community— both near and far—who share your interests.

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Share your work with your peers, mentors and potential customers.

Stitch•illo Reprint Originally published in 2017, this book is back by popular demand! Stitch•illo explores the intersection between stitching and illustration. Future Encyclopedia Volumes

I’m creating a notebook series of tear-off patterns curated from the designers featured in the Surface Pattern Design Guide, plus UPPERCASE spine patterns and some vintage-inspired ones, too. UPPERCASE magazine #51 October-November-December 2021 This issue will explore art quilting and other creative topics to be revealed! #52 January-February-March 2022 Pitch your article ideas and theme suggestions anytime by emailing submissions@uppercasemagazine.com. uppercasemagazine.com

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S H A R E S

Please share your pictures and stories of my books, magazines and fabric on Instagram @uppercasemag with your friends, family and colleagues. It means a lot to me! #uppercaselove for all things UPPERCASE #uppercasemag for the magazine #uppercasekraft for art made with the kraft envelope sent to subscribers #uppercasereader to share what you make #encyclopediaofinspiration for the books #uppercasefabric for my fabric collections with @windhamfabrics #littleumag for my little magazine for the young at heart

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milestones

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an drea j en kin s

n the morning of my 50th birthday, I woke up to sunshine. Which, given the initially grim prospect of celebrating a milestone birthday during a global pandemic, was no small victory. Alas, there would be no glorious cross-country train trip, as I had originally hoped. No raucous party with family and friends. Instead, I would have to settle for small wins: sunlight in the morning, a perfectly ripe pomegranate, a long bike ride. That morning, as I pedalled down unfamiliar streets, I thought about 50. The number had me toggling between extremes: jubilant one moment, steeped in dread the next. I couldn’t decide how I felt about it—or, if I felt anything at all. As I rode, I could not help myself. I looked for meaning—signs that 50 was special, that such a significantly numbered year (and the beginning of a new decade) would bring good things. I hit the brakes hard for a small clump of flowers I spotted growing out from behind an old church drain pipe. Stopped again for a mess of numbered mailboxes I found on the porch of a crumbling old Victorian. I looked for signs all day, long after my bike ride ended. The flash of bright red as a cardinal flew past, a rainbow prism reflected on the wall at just the right moment, a grocery store cashier belting out the birthday song from behind pandemic-issued plexiglass, a neon pink sky at the end of the day. I wrote them all down, as if somehow the list proved 50’s significance, tangible signs of good to come.

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To some, a number is just a number. A birthday or anniversary is just another day. But for many, significant numbers beg our attention—a generous look back, forward, eyes wide open for the auspicious. Where exactly did this need to assign importance to specific numbers come from? Some believe its roots are with the ancient Romans and the way they marked the distance between two points travelled. When building the first roadway system, stone obelisks were set on the side of the road at each mile mark and called “millestones” (“one thousand” in Latin is “mille,” and one thousand paces equaled one mile). These same “millestones” are still found in highway systems all over the world (and still function as such), but over time, the meaning of the word has gradually shifted. Now, we more strongly associate the word “milestone” with specific passages of time and the memorable life achievements they usher in. Make no mistake, we are still measuring the distance between points travelled—the act itself just carries an altogether different weight. I was on the cusp of 40 when the first issue of UPPERCASE came out (and with it, my first Covet column). At the time, it felt serendipitous—a sign that my forties were off to a good start, that the decade ahead held promise. Here I am again, celebrating 50 alongside UPPERCASE and their milestone 50th issue. And it is something to celebrate, this number, this particular distance travelled—to stop, right now, at this moment in time and look at how far we’ve come. And perhaps more importantly, where we’re going.